“Irimi,” by Ellis Amdur

“In Go no sen, one takes the initiative away from the other and rules him.”

Ellis Amdur

I recently read a post which includes an oft-used phrase—“get off the line and enter.” Not only does this phrase not do full justice to the concept of irimi (I confess I’ve used it myself), it leads to a mistaken understanding of aikido technique. This mistake is not only intellectual, but expressed physically, probably lies at the root of the technical deficiencies that are, allegedly, so rife in aikido.

“Getting off the line,” at least as most people I’ve observed execute it, is reactive. We side-step, get out of the way of the attack, etc. Irimi is then imagined to be a counter-attack on an angle—martial arts as the application of geometry, so to speak.

In Japanese, reactive counters are often called “go no sen,” which is a counter to the other’s initiative, but even this is not accurate. In fact, reactive counters are commemorated with tombstones.

In Go no sen, one takes the initiative away from the other and rules him. Imagine a conversation in which someone raises his voice, and in the middle of his tirade, I hold my hand up and out and say, “Not one more word. Be still.” And they are silent. An argument is reactive, as in, “I don’t like your tone of voice! And you are wrong,” to which they reply again, and I respond to that. An argument is often referred to as verbal sparring or verbal fencing. Go no sen is dominant—one cut, one life.

One place we see this is in kenjutsu, and an exemplar of it is in Itto-ryu (remember the deep ties that Itto-ryu has with Daito-ryu). As the enemy cuts, so, too, do I cut. Not “along” the same path. ON THE SAME PATH. Two objects cannot occupy the same space, and I, with greater power/speed/timing/postural stability, etc, take that space. The enemy is, ostensibly, deflected, but they are NOT knocked away. They are simply not allowed to occupy that space. And often there is no tai-sabaki (body displacement, getting off line). There might be. If there is, it is simultaneous—not one following the other. But even beyond that, tai-sabaki is not part of the fundamental definition of irimi, simply an elaboration of it.

Ellis Amdur demonstrating a tenkan (“turn”) exercise

Irimi in aikido occupies space the same way. This, by the way, is the true essence of atemi—not pugilism—but using the body (particularly the limbs) to take space the opponent is trying to occupy. Sometimes one steps off line, but sometimes one steps across line or even in line. Like a swimmer diving right in the belly of a breaking wave. Like Shioda Gozo in one of his favorite techniques where, in respond to a two-hand grasp, he steps in with suddenly rigid downward arms and the opponent, bounces upwards and away. Like Nishio Shoji in that subtle little twist he did with his wrist at the moment he was grasped, creating a small but inexorable wave of recoil (kuzushi) into his partner. Like Kuwamori Yasunori used to do with his hips, taking the place right where your advancing thigh was about to occupy in his wonderful koshinage. Like Chuck Clark in the way he puts that meaty fist right where your head is about to be. All irimi with no moving off line whatsoever.

Aikido technique—that which we practice so much, and seems so open to criticism by folks who recommend adding a touch of boxing and a tad of judo—is the EFFECT, not the essence of aikido. Properly, technique drops in one’s hands after the aikido’s already been done.

And tenkan? I’ve written on this elsewhere, but in brief. Tenkan imagined as spinning away/finesse/leading into a circular path is not part of aikido. Merely part of fantasy played out on the mat. Tenkan is always preceded by irimi. The opponent is so skilled or powerful that even as irimi takes his space, he is wrapping around it/taking the space back, and so one wraps them in a circular motion/technique. Because irimi did take their center—if only momentarily—he’s got to “go around.” The circular motion starts with him. Tenkan is like taking hold of a planet and adding speed and some ellipse or spiral or tangent to its circular revolution. Aikido ura techniques (tenkan) take the person on a tangent—inward or outward—to their circular path. Tenkan should be described as spiral, not circular—it is the permutations of an initial circle once we have taken it over. But if irimi had not already won half or more of the battle, there would be no tenkan to accomplish. You would simply be defeated.

18 comments

how true! But also, how long does it take to bring this insight into the body. To my experience it is interesting to teach this idea with yoko men uchi. If you slide in with tsugi ashi when uke ist starting to hit nage, then it makes a big difference if you force uke to continue his circular movement with his behind leg or if you allow him to take a stable stance. In the latter case the blow has enough power to hit you.

Well expressed! For those who mistakenly perceive tenkan as a retreating movement, I always use the example of urban parking: when I spot an open space on the other side of the street, the only way to occupy it is to make a fast and decisive u-turn. It may be a tenkan but, trust me, it is pure irimi!

Thank you for the wonderful comments. This essay became part of Dueling with Osensei, my first book. The only thing I would add, now, is a paragraph on the idea that aikido is a manifestation of the sword. People usually think of this as “aikido is kenjutsu without a sword in your hands.” No. What I mean is that you become like a sword. Think of a swordfighter doing a perfect irirmi in the method I described regarding Itto-ryu “One place we see this is in kenjutsu, and an exemplar of it is in Itto-ryu (remember the deep ties that Itto-ryu has with Daito-ryu). As the enemy cuts, so, too, do I cut. Not “along” the same path. ON THE SAME PATH. Two objects cannot occupy the same space, and I, with greater power/speed/timing/postural stability, etc, take that space.”
If the sword is made of inferior material, it will bend and break, and even though your technique is perfect, you will die. Similarly, perfect irimi requires a “forged” body. Osensei practiced – and taught – specific methods of breathing and exercise to “temper” the body like iron becomes steel.
In short, to create irimi requires a body like a sword – forged and strong, in a particular way. How, otherwise, could Shioda Gozo, perhaps 130 pounds dominate much bigger men as he did – and clearly he did this beyond people merely taking “good ukemi.”

I know that Aikido isn’t about winning or losing, but (if I quote correctly) “to become one with the universe”. but before we get to that state, isn’t Aikido supposed to make smaller and weaker person capable of winning against bigger and stronger person? at least that’s what I’ve been taught.. or is it just Jujitsu talking?
if it’s true (not the latter), then doesn’t having to “temper the body like iron becomes steel” defeat the statement about “winning against bigger and stronger opponent”?

A great explanation very thoughtful, I like it a lot, don’t know in what language David will translate it, would it be ok to translate it in spanish or german depending what language David will do, thanks!

David – only in one sense is “Aikido supposed to make smaller and weaker person capable of winning against bigger and stronger person?” true. I would bet, for example, that at two meters, 230 pounds, I could lift more weight above my head than Shioda Gozo, who weighed, perhaps, 130. But, Shioda has the ability to use ALL his body’s power in an integrated way. What this means is, he would be at an angle where his 130 pounds of power was exerted at my 40 pounds of power. If, however, he was untrained, it would be merely his 20 pounds of power and even with the advantageous angle, he’d still lose.
To many aikidoka, today, imagine fluttering out of reach and the other person falling over.

You also asked “what do you mean by “reactive counters are commemorated with tombstones.”?
What I mean is that if your martial art is based on “You do this and I do that to counter,” you will invariably lose. That’s the secret of irimi – to take the initiative. Even if you move second, you are there first – because, through kiai, kamae or the like, you have already initiated an attack before you appear to move, one that disrupts the enemy’s attack.

Regarding translation: My book, Old School (www.edgework.info) has been translated into Spanish and French. Dueling with Osensei in Hungarian, Greek and Dutch. If anyone is inclined to translate any of my work, please let me know (through my website). It can be a very rewarding project (just in the correspondence with me, trying to figure out what the heck I’m saying!).

If two like-minded strong individuals fight to hold the one position, surely one will lose. Like goats butting their heads together, the thickest headed one wins. I prefer to allow the strong dominant one to take my position as I deflect and neutralise their aggressive tactics.
Enjoy the journey
Paul

I absolutely agree! However, could be easy to do a reactive (and fake) go no sen: if one pretends to use a go no sen in order to win, will be in a reactive way, so…. will get a tombstone anyway. The question is: what could be that go no sen beyond winning and losing? Or, with different words: how can we achieve victory standing on our own tombstone?

“For instance the word “IRIMI” (entering) has only one meaning. Irimi is a way to slide on the rear of the opponent or get out, safe and sound, out of the circle of attacking people”.
M.Saito, 1979 Takemusu Aikido Vol 1.

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